On a Sunday morning back in the fall, I was paging through Dwell, scouring it for ideas to inform my own home remodel, and came across GRT Architects Dutchess County, which is a gorgeous piece of architecture. The only thing I loved more than the house though, was its photographs, expertly crafted by New York based photographer Brian Ferry.
James Turrell is an American artist recognized for his work with light and space. This LACMA (Los Angeles County Museum of Art) produced documentary shares his personal background and experiments with light as a medium that creates spaces and alters perception. It also gives a short virtual tour of his works, from small rooms called Skyspaces to the ongoing project of a naked-eye observatory within an extinct volcano; Roden Crater.
Catalin Marin of Momentary Awe is back on Project of the Week with another extraordinary set of images of an epic building! Today we’ll be checking out his photographs of Foster and Partners The House of Wisdom.
He kicks things off by telling us “Sharjah, one of the UAE’s seven emirates has been investing heavily in cultural institutions in the last few years and in 2019 held the UNESCO World Book Capital title.
I love when I see Dennis Radermacher’s name in my inbox because it means he has conjured up another brilliant 3D printed solution to one of the many small frustrations we photographers run into.
For those of us who have made it part of our workflow, I think we can all agree that the Camranger platform is incredible and powerful, but leaves something to be desired when it comes to —well—where to put it.
I have always viewed architectural visualization and architectural photography as two sides of the same coin. They bookend the architectural representation process, the former being created at the very outset, while the latter wraps up the project’s design and construction journey.
Today we’re taking a little trip to where no Project of the Week has gone before — Greece! I’ve had my eye on the incredible work of Athens-based architectural photographer Ioanna Roufopoulou for quite some time now, and am excited to share this series with you.
Let’s jump in and check out Ioanna’s photographs of a gorgeous villa perched upon a hill in Syros, Greece for block722architects.
It’s no news that we’ve all been subjected to various levels of lockdown thanks to COVID-19. Restrictions on routine activities have given many of us plenty of time to learn new skills and techniques.
APA reader Roy Engelbrecht used his spare time in the pandemic to try out exposure stacking to satisfy a particular client request.
When I was a baby architecture writer, a thousand years ago, I remember spending what felt like the majority of my work time asking my editors who’d commissioned stories, or publicists who were pitching me projects, or architects who’d decided to see if I might want to write about something, to send me pictures.
In an architectural photography group I’m part of, there are always questions being asked in regards to getting started in architectural filmmaking. Even though I have covered architectural filmmaking through interviews with other photographers, there isn’t anything directed towards architectural photographers who are interested in making the shift to this medium.
We’re shaking things up this Project of the Week with a very cool series put together by photographer Nikola Olic. Nikola is a Serbian photographer living in Dallas, Texas, and has compiled a project in which architectural photography is combined with “abstract structural quotes that reimagine their subjects in playful, dimensionless and disorienting ways.”
How do I start this? The question has been haunting me for weeks now. First, I want to thank you for the many great responses to the previous chapter of this series. In my last article, you saw my process for achieving a large number of images for at least four different clients — taken care of all in the same shoot.
Today we’re being treated to a little tour of a house called Windsor Terrace by Melbourne-based photographer Michael Kai. Michael specializes in advertisements, portraits, and architecture. His work is very cool and complex, and this particular project is the embodiment of that.
In my (free to download) eBook The Value of Architectural Photography, I touched upon instruments our clients can use to increase the value of our work. I asked the following question: “Any time of the day, 24/7, someone who could be your next client can check your website. Your referential projects are always accessible and visible.
Many of my introductions to world-famous designers happened through conversations with friends who are very heavily entrenched in the design sphere. The introduction to Dieter Rams came by way of a friend, John Bastiras, who is perhaps the only person I know who possesses a vast knowledge of Australian architecture in the world of cycling (my other love).
Juan Benavides is a Mexican architect and filmmaker currently based in the Netherlands.
He describes himself as someone working in and around architecture. This acknowledgment allows him to shift across his various creative interests, engaging in projects that range from architectural design and academic research to videography, photography, and music.
We’re excited to have our friend Dave Burk back on Project of the Week today, this time with another absolute gem crafted by Skidmore, Owings & Merrill! Feast your eyes on Dave’s photographs of the National Museum of the United States Army. With its ever-changing reflective stainless steel facade, Dave harnessed different lighting conditions and compositions that resulted in a powerful, unreplicable, and otherworldly looking series — one that we’ve all been swooning over here at the APA camp.
Are you having trouble finding consistency in color in a photo series? You are not alone! With the method explained in this blog post, you can overcome many difficulties that come when matching colors.
I love watching good Photoshop tutorials. It’s a bonus if it is targeted at us, architectural photographers, but often that is not the case.
Lately, I have been shooting corporate interiors. The projects are usually well lit common spaces or executive offices next to a window. The rest of the spaces are mostly lit with artificial light. Although I typically like shooting with natural light only, on these projects, I must turn on and feature the practical lighting as a design element.